Wednesday, June 26, 2013


Brigitte Bauer
Helmut Newton

Crusader Helmut - beads of yellow and gold hand-embroidered on yellow chiffon. Gala and devastating for an appearance at the most festive opening or party. By Stella, made to order at I. Magnin.  Necklace by Apex Art. The beading by Albert Lesage of Paris.

Gleaming Evenings - The American Custom
Harper's Bazaar October 1963
Photography: Helmut Newton

Maison Lesage was the last great embroidery atelier in Paris - known for couture embroidery since the 1920's. Albert Michonet, who worked for Empress Eugenie and her couturier, Charles Frederick Worth, had founded the firm in 1868. 

In 1924, after the First World War, Albert Lesage, a businessman with a talent for fashion, bought out Michonet upon returning to Paris after a stint designing for a Chicago department store.

The economic strength of the 1920's proved profitable for Maison Lesage in a fashion era heavily influenced by the flapper look which was dependent upon beading and embroidery.

Albert ran the firm with his wife at his side and their young son Francois growing up in the atelier's workroom where his drawings were often incorporated into the works produced.  

Sent to America at the age of nineteen to learn English, Francois lived in Los Angeles where he wasted no time in promoting the Maison Lesage's embroideries to the costume designers of the movie studios and soon opened the atelier Lesage-Sunset Boulevard.

During the decade of the fifties,  many of  Maison Lesage's original European couturier customers had passed on. During this time, Francois garnered new clients to the atelier. Fath, Balmain, Dior and Balenciaga all used Lesage embroideries in their couture collections. By the seventies, a new breed of couturier enlisted Francois to create adornment that included plastics and metal trimmings. Hubert de Givenchy, Karl Lagerfeld and Yves Saint Laurent all used the inovations  of Francois Lesage to create their couture embellishments. Christian Lecroix was another devotee, collaborating with Francois through the eighties for his eponymous label.

Some of the ateliers most spectacular creations included a gown with a twenty metre train whose embroidery alone cost 1.6 million dollars and a coronation gown for an African empress which took eleven thousand  hours of hand-made labor. 

Heralded as a man who upheld the tradition of couture, Francoise Lesage passed away in 2011 at the age of 82.

... all things femme fatale

Friday, June 21, 2013


Ursula Andress, Spelled S-E-X

Part of the glory of the new, unfinished, nutty, neurotic movie comedy, What's New, Pussycat?, lies in its four pussycats, Romy Schneider, Paula Prentiss, Capucine, and, above all, Ursula Andress. All four have photogenic talents, all can act just about a candle's worth. None has more appeal, however, than Miss Andress, curvy as a circle, tall, blond, and the most beautiful detonator of all.

People Are Talking About ...
Vogue February 1965
Photography: Larry Shaw

... all things femme fatale

Sunday, June 16, 2013


The Eyes of the Desert ...

"A young Moroccan beauty with marvellous honeyed skin tinged with rose. With the traditional ivory stick she lines the inner rims of her eyes with kohl, which has darkened the eyes of Moslem women for centuries - centuries during which only their eyes were visible above the mandatory veils."

"She works mascara - the cake kind - lavishly onto her lashes for a good ten or twelve minutes. Grey shadow put on lightly at the corner of the eye near the nose, then darkening as it works outward toward the temple; above that goes mauve shadow, done the reverse way - darkest at the inside corner, lightening as it goes outward."

"In the evening she draws a thin line with white liner at the upper edge of the grey shadow, from the middle of the eye out beyond the end of the eyebrow; another narrow white line is drawn in the same half-arc below the eye. Fantastic for making the eye stand out ..." 

The Dark Gazelle Eyes, Arabian-Nights Beauty of Mme. Benhima,
Wife of Morocco's Ambassador to the U.N.
Vogue September 1969
Photography: Richard Avedon

... all things femme fatale